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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.
I'm still working inside Box of bugs.psd. In the previous exercise I had you load up a collection of four styles that are made available to you as Strings textures.asl, and I want you to know what we're going to be doing in this exercise. We're going to be adding a texture to a Bevel and Emboss Effect. So we'll ultimately transform the word Spiders that you see before you now to this effect right here, so quite a different effect as you can see. Let's go ahead and start things off, however, by clicking on Stepped contour. That will serve as our jumping off point, and I'm going to make sure the spiders layer is active.
Then I'm going to double-click on its Bevel and Emboss Effect to bring up the Bevel and Emboss panel. And let's make a few changes here. First, turn off the Contour check box right there. We don't need that edge contour anymore. And I'm going to run through a few modifications that I've found to be useful. Now bear in mind that there are no magic settings as always, and there are certainly no settings that work better with a texture pattern than others. These are just settings that I came up with, and I thought they looked cool once I was done. Anyway, I'm going to change the Size value to 30, and I'm going to reduce the Soften value to zero.
I'm leaving Style set to Inner Bevel. Technique will remain Chisel Hard. I'm going to go ahead and increase that Depth value to 200%. All right, now let's drop down to these guys, the Highlight and Shadow modes. I'm going to leave them set to Linear Dodge and Linear Burn, so that we have high impact highlights and shadows. However, I'm going to change the colors. So this time around I'm looking for some complementary highlights and shadows, so I'm going to click on this light orange color swatch for the Highlight, and I'm going to change the color to 180 degrees away from 35, so that is 215, which is going to be a shade of blue as you can see there.
And then that's it. The other values are just fine as is. So Saturation 35, Brightness 100, click OK. And I'm going to crank that guy up to 100%. Next, I'll click on this very dark color associated with the Shadow mode, and I'm going to change its Hue value to 215 as well, and then 15 and 15 are just fine for the Saturation and Brightness values. Click OK, and I'm going to go ahead and reduce the Opacity value to 65%. So I'll press Shift+Down Arrow, just to take it down a little. Now so far we're not getting miracle results. That's okay.
We will in just a moment. I'm going to click on Texture like so and all of a sudden we get a radically different effect going on, because we were tracing a texture pattern into the actual depth of these letters. Now let me explain what's going on. In my case, we're seeing this Woven Flat pattern by default, and that's because you may recall, I went ahead and loaded up the Patterns Library right there, so that I have more than just bubbles and tie dye. And the pattern ends up serving as a bump map. That is to say that black and white have opposite elevations, so white is going to be as high as it gets and black is going to be as dark as it gets, and then Photoshop is going to apply a kind of three-dimensional rendering to the insides of those letters.
Now one of the really interesting ones By the way, is Ant Farm. So if you have loaded that Pattern Library, Ant Farm is your last option right there. And it may not look that interesting at first. It looks kind of scaly. In fact, when I am zoomed this far out. I am zoomed to 40% by the way. So I'll increase the Scale value to 400 like so, and now we're getting some nice reticulated bumps inside those letters, and then I'm going to lower the Depth value from 100% to 40, like so. All right, there are a few other changes I want to make here. I'm going to switch over to my Color Overlay.
I'm going to turn off the Overlay for a moment. As things stand now, we have a little bit of a blue highlight going on here, but mostly these letters are very orange, because they're colored orange in the first place, and then we are also seeing through to the wood in the background. And I'd like to add a little bit more of a metallic blue flavor without going too far with the effect. So I'll turn on Color Overlay. By default, that goes ahead and makes your letters red and red just happens to be the default setting for Color Overlay. If you decide ultimately that you'd like to apply different settings as opposed to just replacing all of the color inside your layer with red, which seems like a goofy way to go, then make your changes and then remember that you have that Make Default button here inside Photoshop CS5.
Anyway, I'm going to click on the Color Swatch, and I'm going to, once again, dial in the Hue value of 215. Let's take that Saturation value, because this is not metallic blue. That's just straight ahead super blue. I'm going to take that Saturation value down to 20, and then I'll take the Brightness value down as well to 70 let's say. That's still a pretty hot blue effect there, but I'll click OK, and now let's switch the Blend mode to Screen, so that we get a little bit of interaction between this blue and the original orange color assigned to the letters.
Now I'll go back to Blending Options and my Fill Opacity is set to 0%, so in other words, the letters aren't showing up at all. We are getting some kind of interaction between the blue and the wood color in the background. I'm going to increase that Fill Opacity actually to 50%, so we bring back some of that orange, and you wouldn't know it. It doesn't look like we're getting any interaction at all, and you know why that is. It's because the Fill Opacity value is being applied before any of the interior effects are being added.
So in other words, we're seeing through our letters one moment, and then we're plopping on all these other effects, including Color Overlay, and Color Overlay is just covering up everything in the background. We are getting obviously some interaction going, but it must be an interaction between that Color Overlay blue and then some browns that we have going on elsewhere inside of our layer effects. So if we want to go ahead and integrate all of these interior effects, that is the layer effects that fall inside of the letters, everything except Drop Shadow at this point.
If we want to go ahead and integrate all those effects into the Fill Opacity calculation, then I need to go ahead and turn on Blend Interior Effects as Group, and we should see a change inside the Image window, and clearly we do. Now we have, I think, a much more interesting integration of the oranges from the letter in the background along with the blue that we're applying from the Color Overlay Effect, along with the blue Highlights and the blue Shadows as well. So this is our effect so far. I'm going to make one change here inside the Bevel and Emboss panel.
I'm going to switch the direction from Up to Down, like so, so that we get a kind of underlining effect, and then I'm going to go ahead and click OK in order to accept that modification. I'll go ahead and zoom in by pressing Ctrl+1 or Cmd+1 on the Mac, so that I'm seeing the effect at the 100% zoom level, and it looks pretty chunky. We have some kind of garbage-y edges going on. My guess is that's because we increased the size of the texture to 400%, and so we're actually seeing an upsampled version of those pixel edges.
And also, as I mentioned in the previous exercise, I think I'd like a little bit of a reflective highlight in these dark areas, and I'll show you how to tweak this effect by creating a bright Inner Shadow in the next exercise.
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